Soledad

Does anyone know the hex key size for saddles on the BadAss II bridge (Highway One Jazz, 2010). Tried the metrics but then assumed imperial, bought a set, tried the 1/16th.Stuck now!

That's a bold thing to undertake - respect! I wonder if one day I may have a go. I did once make a tea-chest bass with a broom handle, so I have previous experience This is all personal taste of course but I wonder if the Tele shape is forcing some compromises - upper neck access being one? Tempting to move the bridge back, but only if you then deal with treble cutaway, then the body shape starts to get lost. I would personally move the hum pup back somewhat as you'll get loads of bottom end anyway, but somewhat back will help the high bass / mids a lot I think. Think MM, Warwick, even Jazz. Andy's point re balance is also important. I once owned a Gibson EB3 (as a kind of punishment) - big hum pup at neck made a wall of toneless air, and the neck dive was horrendous. So basically, look at the EB3 and do the opposite. Will follow with interest. Enjoy.

This was dicussed recently on Rubis' day of birth Precision thread: I've always referred to these things as the scratchplate, but never new the material changed in '65 @spencer.b I have seen post '65s age and discolour also, but maybe not to the same degree (not actually looked closely enough). Having owned a number of early '60s Fender basses I became familiar with the colour change and distortion that occurs - I'm certain a large part of it is exposure to UV. If you remove the pot knobs and the retaining nut, you'll see the whiter shade underneath. I've heard about tobacco smoke and pollutants - don't buy any of it, maybe pollutants to a 5% degree. If I was trying to do this I would definitely test UV exposure - a cheap uv bulb, cardboard 'light box' and a few days (maybe weeks) soak. The important thing is the colour change is not on the surface but permeates the white upper layer giving the effect of depth. So I don't think tea or any other surface stain will ever really do it.

tastee . Quite up my street. Can see where the P and Lakland would slot right in there. Bet Frogs is brill to play !

Lots of excellent ones on FB Marketplace, Gumtree, even eBay. Small combos are good used as most never see a hard life. I have one eye open for an SWR Workingmans 10 (or maybe 12) - the 10 is supposed to sound better but both really good. Seen them go around £100. But really worth a look on FB, a lot to choose from £50 upwards.

I know that back in the early 80s she drove a Mercedes 280SL 1970 pagoda roof type. I know because I became the next owner. It was a real cracker but I had to remove the pot pourri from the ashtray and found a number of scalpel blades concealed under That car was bought new by Engelbert for his wife, then went to Mike Chapman (Blondie, Suzi Q etc producer), then SQ. I reckon she's a right good type, and I liked her talking about going back to a Precision, 'like going home'. Top lady.

I get that - it's always the way it worked, get to know other players and connect with the like-minded. Checked open mics round here - bloody loads of 'em !! I'll try one or two just as a silent observer (initially at least). Probably give JMB a go too, why not ??!

Thanks to the entire thread for a lot of good and candid advice. I'll admit I'm confused or a bit unsure now - mixed views here. @Frank Blank and another BC member have offered me plays of theirs (Godin, Carvin) so I need to try and organise that. I'm also considering grabbing a cheapo, accepting the sound compromises that come with that but getting a feel for the idea of these things. Basically if I were to buy a Fender/G&L/ Lakland etc I know what I'll do with it, but this adventure could end up on a wall. The only way forward now is to play some. More news if and when it breaks. Thanks again.

Thanks @SpondonBassed and @Jakester. - JMB and bandmix are both worth a go for me, maybe try gumtree too. It's probably about getting in the local mix, just getting to know some players and see what develops from that.

I've been out of the live / band scene a very good time now, but I had a quick blast with a drummer and guitar the other day. Brilliant - I need to find some reasonable players of other instruments in my area. Tried a post on the local dad's network (FB) - waste of time. Any ideas at all how I do this?

Can't decide whether to frame this, or get a tattoo done. If I go for the tattoo I may edit it a bit so it fits. I play with thumb firmly anchored on pup / E / A depending where I am, but I do seem to float the thumb occasionally, mainly if moving up nearer neck for the snap n ring sound I like (notice sometimes where John Entwhistle played). So mostly the former, very occasionally a bit floaty. I reckon controlling the E is tricky if you don't drop the thumb down to A when playing D or G. I find the E has most energy in it and is hard to control with left hand alone.

Good question, I'm not aware of one but given the interest and research out there (various fan forums etc) you'd think such info will exist. Here's what I know and best recall - in the early 70s I was a kid who absolutely yearned for a Precision. Closest I got was the big stores anywhere near, the secondhand basses of 60s vintage hanging on the walls out of reach (they were only say 8 years old then, no big deal) and the brochures. Back in those days the 60s Ps weren't modded or messed with, nobody bothered. Some got beat up a bit, but they were straight. What I very clearly remember was the basses of this period (around 64s) were either burst with tort, or one of the few colours offered, with white plate. I have no recollection of black plates in that period (doesn't mean they didn't do them, just never remember one). I remember seeing the first paisleys in Leeds - there was a shop window with an imprint of my face on it. I do remember the list price in (I think) 67 - cos I got an old brochure from a dealer in Leeds some years later as a gift - guy on front holding a red Jazz, standing by a Bassman (100?) and a tall cab, maybe a 215 but don't recall. The Precision list in around '67 was £168.19.10 (yep, 19 shilling and 10 pence). Around '71 I paid 125 for my first (a 68), then 95 for my beat-up second (a 60) then 105 for the lifer, my '64 in blue with WHITE plate. Personally I don't know where all these plain colour 60s Fenders with tort plates came from. Certainly in the period I was obsessed with, tort was unique to sunburst.

unbelievable attention to detail, the heel shading and everything else. Super- particular. The fingerboard tinting is great - did you consider graduating it a bit in the open - 7th fret regions. I suspect finger grease over the years tended to darken the lower registers a little more. The BLO may contribute to that maybe. Fab work.

Wondering how he does the aged 'minty green' s'plate? They do go an odd shade which I'd say would be really hard to replicate - looks good though. An affordable way to get the lived in feel, like fine vintage Levi's 👍 p.s. re comments about a tort plate - isn't the white correct on this body colour for a 64 anyway? To me, a tort would just look like a swapped plate or a sunburst with a refin.

@BreadBin - may be deceptive but that looks huge ! From a sound p.o.v I guess big is good. For a typical EB player, I'd expect to have to adapt to the body size - looks v nice though. @itu - hadn't, looks very nice, quite serious (stand up as well, designed for bowing etc.), and over my 'give one a go' budget.

Indeed, mine's nice for an M3/M7... but happily my Mayones fits nice with its 2 + 2 head. They are good, helps if you get the right one. Impressive blag btw.👍

Very generous but I'd do the miles, only fair. There is a fine acoustic fretless a bit north of you I'd like to see (play really) so I may need to plan a road trip. Didn't even know that existed - very handsome indeed. This opens up how the bass is amplified - it seems less than optimum to use piezeo in the bridge when nylon wraps are popular (preferred even) and the bridge is often plastic of some sort. I wonder if either of those materials will transmit the micro-vibrations of the mids and highs very well at all. This started out an interest (has been for ages) but it may get a bit complex. I really just need to play a couple I think.

Checked listing - it does say quite clearly for M3/M7. Well, there we go...

The obvious question is what then? I've come to accept the obvious that reward is proportionate to risk. If a high reward low risk suddenly appears it's either a con, or it will rise almost instantly to a value/cost level reflecting the low risk - there is no such thing as cheap high returns without commensurate risk. I believe there is a very strong argument for making a part of an 'investment portfolio' quality objects of some scarcity. Obviously you have to know your subject and many here know their basses. I think you also have to take a medium to long term view. If you know what to pick, and factor in the tax efficiency, and then add in a component for the pleasure of ownership and/or use - a small collection of fine basses makes as much sense as any other scarce and desirable item. This probably isn't what a 'financial adviser' would ever tell us, but they're the people who tell you to be in the market long term, and to diversify - I can't tell you what I think of that advice without swearing quite a lot. Enjoy them basses 👍